滤镜下的数字自我:基于社交媒体滤镜的程式化现象考察  

Digital Self behind the Filter:A Study of Programmatic Phenomena Based on Social Media Filters

作　　者：李冉 孙为[1] Li Ran;Sun Wei(School of Media,Nanjing University of the Arts,Nanjing 210013,China)

机构地区：[1]南京艺术学院传媒学院

出　　处：《江苏大学学报(社会科学版)》2025年第2期62-71,共10页Journal of Jiangsu University(Social Science Edition)

基　　金：江苏省社会科学基金年度重点项目(24XWA001);江苏省研究生科研创新计划项目(KYCX24_2457)。

摘　　要：滤镜作为一种新兴数字媒介,在图像语言中创造出一种全新的构造模式,它的出现宣告了媒介视觉语言在数字领域的演变,同时也成为数字社会的新形态基础设施。滤镜“程式化”现象的形成有其独特的符号生成机制,且对当代媒介审美文化产生影响。滤镜的机器属性使得其从诞生初期即具备“程式化”特性,进而影响当下图像语言与个人行为均出现“程式化”特点,滤镜已经从单纯的视觉工具变成一种决定性的媒介工具。在滤镜的合理使用上,一方面应进一步加强有关部门监管,促使网络平台秉持价值理性;另一方面要拓宽创作土壤、挖掘传统文化美学,赋予使用者更多的审美选择。As an emerging digital medium,filters have created a new construction pattern in image language.Their emergence asserts the evolution of media visual language in the digital field and reveals a new form of infrastructure in the digital society.The emergence of filter“programming”resulted from the symbol generation mechanism and is exercising influence on contemporary media aesthetic culture.The mechanical properties have made filters“programmed”since their inception,which in turn affects the current image language and personal behaviors,and filters have evolved from mere visual tools to decisive media tools.So,to use filters reasonably,it is necessary to further strengthen the supervision while encourage the online platforms to uphold value rationality on the one hand,and to cultivate the creative soil,explore traditional cultural aesthetics,and give users more aesthetic choices on the other.

关 键 词：媒介 程式化 景观社会 审美符号 平台权力 

分 类 号：F124[经济管理—世界经济]